For 116 reviews, this critic has graded:
  • 33% higher than the average critic
  • 4% same as the average critic
  • 63% lower than the average critic
On average, this critic grades 12.8 points lower than other critics. (0-100 point scale)

Mark Holcomb's Scores

  • Movies
  • TV
Average review score: 47
Highest review score: 90 Bukowski: Born into This
Lowest review score: 0 Bless the Child
Score distribution:
  1. Positive: 29 out of 116
  2. Negative: 35 out of 116
116 movie reviews
    • 87 Metascore
    • 80 Mark Holcomb
    It's a remarkably assured and humane feature debut.
    • 87 Metascore
    • 70 Mark Holcomb
    What keeps Murderball from devolving into redemptive drivel is its insistence on treating the players it profiles as jocks first and disabled men second.
    • 78 Metascore
    • 80 Mark Holcomb
    Porterfield intersperses these delicately underplayed scenes with doc-style question-and-answer exchanges that, while initially jarring, achieve maximum cumulative impact.
    • 78 Metascore
    • 60 Mark Holcomb
    Best in Show succeeds only insofar as you're willing to laugh at a bunch of sad freaks.
    • 77 Metascore
    • 90 Mark Holcomb
    Charles Bukowski, the bard of post-war L.A.'s working-class underbelly, was no ordinary cult writer, and John Dullaghan's thorough, compelling doc Bukowski: Born Into This does a credible job of showing why.
    • 76 Metascore
    • 60 Mark Holcomb
    Makes for unexpectedly giddy viewing.
    • 74 Metascore
    • 80 Mark Holcomb
    Continues Disney's trend of crafting animated movies as much for adult viewers as for their pre-adolescent progeny.
    • 71 Metascore
    • 70 Mark Holcomb
    Unusually impassioned indie.
    • 71 Metascore
    • 80 Mark Holcomb
    Actually manages a fresh perspective. The director, camera in tow, had unimpeded access to the devastation for a full day before being shooed away by officials, and the footage he captured (sans commentary) is both gut-wrenchingly familiar and disconcertingly foreign.
    • 69 Metascore
    • 40 Mark Holcomb
    First-timer Wayne Kramer brings pathos to Bernie and Shelly's fraught relationship, but his film never amounts to more than a cute idea stretched to poker-chip thinness.
    • 69 Metascore
    • 60 Mark Holcomb
    This sly, sobering doc exposes the grievously fucked-up priorities surrounding the sport in a small town with little else on which to hang its hopes.
    • 69 Metascore
    • 60 Mark Holcomb
    The film's real flaw is its limited focus.
    • 68 Metascore
    • 70 Mark Holcomb
    The result is a film as tenacious, peculiar, and likable as Burt Munro himself.
    • tbd Metascore
    • 80 Mark Holcomb
    What finally makes Town Bloody Hall so compelling -- and unsettling -- is the impression that such serious, spirited debate is a thing of the past.
    • 67 Metascore
    • 70 Mark Holcomb
    This earnest, well-observed weepy has more depth than its genteel trappings might imply.
    • 67 Metascore
    • 70 Mark Holcomb
    The scenario recalls everything from "High Noon" to "Unforgiven," but Costner is less interested in grappling with the grim ambiguities underlying those films than in codifying them. There's still much to like, including the warm, thoughtful performances and cinematographer James Muro's fearless use of natural light.
    • 66 Metascore
    • 90 Mark Holcomb
    A quietly impassioned, genuinely stirring indie rarity.
    • 65 Metascore
    • 90 Mark Holcomb
    A must-see for opera lovers and a snappy diversion for cinephiles.
    • 65 Metascore
    • 20 Mark Holcomb
    Wanders all over the map thematically and stylistically, and borrows heavily from Lynch, Jeunet, and von Trier while failing to find a spark of its own.
    • 65 Metascore
    • 80 Mark Holcomb
    The rapid-fire satirical sophistication (scatology notwithstanding) and lovingly rendered pulp surrealism of this sequence should delight adults, while kids will get a charge out of the heroines' grown-up-defying chutzpah.
    • 64 Metascore
    • 70 Mark Holcomb
    A fresh and uncompromising account of emotional self-immolation and romantic flux. And it has a happy ending to boot.
    • 64 Metascore
    • 70 Mark Holcomb
    Sanaa Hamri's brisk, refreshingly understated romantic comedy Something New is the rare movie that delivers on its title's promise.
    • 63 Metascore
    • 50 Mark Holcomb
    An exhilarating serving of movie fluff.
    • 63 Metascore
    • 80 Mark Holcomb
    Largely sidesteps sentiment in favor of a tentative hopefulness.
    • 63 Metascore
    • 80 Mark Holcomb
    Happily, beneath the film's nostalgic veneer and tooth-rattling visual and aural effects lies a mature ambiguity that's unusual for a holiday blockbuster -- and all but unheard of in a Tony Scott movie.
    • 63 Metascore
    • 80 Mark Holcomb
    Eschewing the jock-like aversion to "artiness" inherent in most sports docs, John Hyams's contemplative snapshot of professional bull riding, Rank, ups the ante for the form.
    • 62 Metascore
    • 70 Mark Holcomb
    Tender irony and dark humor abound in Israeli director Eran Riklis's latest account of bureaucracy colliding with burgeoning compassion.
    • 61 Metascore
    • 60 Mark Holcomb
    He (Jacobs) and cinematographer Chris Menges compose the film largely in close-ups, and the effect is appropriately unnerving. Regardless, unfavorable comparisons to "Nine Queens" are inevitable.
    • 60 Metascore
    • 70 Mark Holcomb
    Too brisk and plucky to dislike.
    • 59 Metascore
    • 30 Mark Holcomb
    Stupefyingly benign.